Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

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British countertenor Iestyn Davies is one of the fastest rising stars on the concert and opera circuit. For this selection of arias written for Gaetano Guadagni, the first ‘modern’ castrato and famed all over Europe for his lyric voice, he is imma ...» More

This collection demonstrates the variety and brilliance of Handel’s writing for the bass voice, with arias from Italian and English operas, English classical drama, Biblical oratorios, literary odes and a masque. Christopher Purves gives an extrao ...» More

Unruly tyrants also feature in later English oratorios, such as Valens in Theodora (London, 1750); the Roman governor of Antioch vows that anyone resisting the compulsory decree to worship Jove will suffer ‘Racks, gibbets, sword and fire’.

Handel’s last two oratorios, Theodora and Jephtha, written when he was well into his sixties and increasingly suffering health problems, show his growing preoccupation with man’s destiny. Theodora was unusual in that it was one of only two Christian English oratorios, telling the story of the martyr who perished at Antioch in the fourth century. Didymus is a young Roman officer who falls in love with Theodora and, despite the knowledge that to do so will result in a death sentence, converts to Christianity. Didymus is challenged by the Roman General Valens: in ‘The raptur’d soul’ the young soldier affirms his faith and his willingness, if necessary, to be martyred. The middle section, ‘No engines can a tyrant find’ is often cut in performance, losing a fine piece of contrasting scoring, whose stormy violence counters the gentle lilt of the outside sections.

On the wings of the wind will I fly, With this princess to live, Or this Christian to die.

Thomas Morell (1703-1784)

Hearing of the abduction and imprisonment of his fellow Christian Theodora, the Roman officer Didymus resolves to rescue her. His plan is to change clothes with Theodora and for her to escape, disguised as him. In ‘Kind heaven’, Didymus asks for strength from on high to aid his plan to spring Theodora from prison. His Christian convictions are steadfast: if he does not succeed in his plan he knows that both he and she will be put to death. Handel’s orchestra for the first performances must have been a fine one, for his writing requires virtuosity and precision of the highest calibre from the violins.